Emma Davie, Scottish filmmaker and film teacher at the Edinburgh College of Arts did a brilliant lecture on what a creative documentary can be. She was adressing her colleagues with advice and reflections that came from the clips from the films she had chosen.
She started with ”My Body” (2002) by Norwegian Margreth Olin, a personal film with a wonderful grainy texture – Olin had found her form, Emma Davie said, do the same, do not think about a big audience, make films that talk to your best friend.
”Do not make documentaries if you don’t have to”, is one of the Ten Points made by Russian director Viktor Kossakovski, who also said that you should not think during the filming but before and after. The clip from ”Belovs” (1993), the masterpiece of the Russian auteur, made Emma Davie say that it is so giving to see the ordinary changed. The joy of looking and be looked at were introductory words to Marc Isaacs ”The Lift” (2002), yes, filmed in a lift, people going in and out, a film that has its limitations in time and space. But what if you have a person, who actually do not want to be filmed. Like the father in Alan Berliner’s original ”Nobody’s Business” (1996), a neo-classic, full of humour and visual ideas, perfect in rythm.
The creative documentary does not pretend that it knows all, the simpler the more fascinating, Emma Davie said, and use suspense if you can. She referred to Berliner’s film, will the father give in and actually reveal anything from his past?
Davie ended with Marcel Lozinski’s ”Anything Can Happen” (1995) (PHOTO), a unique film, one of the absolute favourites of this blogger. The little boy in the park going to old people on the benches, having dialogues with them about life and death, about being old, about religion. Pure pleasure.
As was the lecture of Emma Davie.